Toko Shinoda (b.1913) was born in Manchuria and moved with her family to Tokyo in 1914. Her father was a keen calligrapher and his interest encouraged Shinoda to practise calligraphy from the age of six years old. By her early twenties she was an independent calligraphy teacher and against her father’s wishes decided not to marry but to pursue a career as an artist instead.

Shinoda had her first solo calligraphy exhibition in 1936 at Kyukyodo Gallery, Tokyo, and by 1945 she was producing work which departed significantly from the rigid forms of traditional brushwork. Following numerous solo exhibitions of calligraphy her work started to change and in her early forties the focus moved to compositions consisting mainly of thin freely applied brushstrokes. Having a strong-willed character and a desire to develop her creativity beyond the limitations of classical calligraphy and its restrains, Shinoda decided to break away and begun to produce abstract works using traditional materials. This development received severe criticism from the established calligraphy circles of Japan, however her work was recognised by major international art institutions and she was included in two exhibitions at the Museum of Modern Art, New York in 1953 and 1954 respectively.

In 1956 Shinoda moved to New York where she would be free to further develop her artistic expression and mingle with people who believed in and supported her work such as the painter Franz Kline (1910-1962) and long-term dealer and friend Norman Tolman. At this time Abstract Expressionism was at the forefront of the American art scene giving the artist a rich source of inspiration and development possibilities.

Having established herself internationally Shinoda returned to Japan in 1958 with a renewed confidence enabling her to develop further and to begin using bolder and thicker brushstrokes alluding to the strength of Abstract Expressionism. In 1960 following the advice of fellow artist and printmaker Arthur Flory (1914-1972) Shinoda added another facet to her oeuvre and began to produce lithographs, a medium which she conquered with ease. Having reached a mature and distinctive style she continued to use traditional black and vermillion sumi (ink) in her paintings composed of thick and thin elegant brushstrokes often adorned with calligraphy on a surface of canvas, paper or silver leaf.

A true intellectual Shinoda developed her trademark tool; a long, thin brush. In this tailor-made brush, with a handle longer and slimmer than usual and with extra-long bristles, Shinoda found a tool which easily facilitates the circulation of energy between her hand and the painted surface. The longer brush enables more delicate uninterrupted movements which according to the artist make her feel like a white witch using her magic wand.

In 1962 she was commissioned to design the theatre curtain and ceramic relief for the foyer of Nichinan Cultural Centre at Miyazaki and later she created a mural for the Yoyogi National Stadium built for the 1964 Tokyo Olympics. In 1974 she completed another significant and innovative commission to paint the fusuma (sliding doors) of Zōzōji temple, Tokyo and in 1993 she gained a commission for the new Imperial Palace Residence, Tokyo.

Shinoda continues to work to this day and claims the varying juxtaposed brushstrokes represent the diversity of her character, expressing both her tender and dynamic elements. Still relevant today and open to personal interpretation her work is a lyrical inspiration to many giving it a wide global appeal.

Every morning, I pick up a brush and do some work, even just a little bit. Without it, I wouldn’t feel quite alive, or I wouldn’t feel like I should be living without doing some work. You could say it’s a sense of responsibility. It’s the proof that I am alive.

Toko Shinoda (b.1913) was born in Manchuria and moved with her family to Tokyo in 1914. Her father was a keen calligrapher and his interest encouraged Shinoda to practise calligraphy from the age of six years old. By her early twenties she was an independent calligraphy teacher and against her father’s wishes decided not to marry but to pursue a career as an artist instead.

Shinoda had her first solo calligraphy exhibition in 1936 at Kyukyodo Gallery, Tokyo, and by 1945 she was producing work which departed significantly from the rigid forms of traditional brushwork. Following numerous solo exhibitions of calligraphy her work started to change and in her early forties the focus moved to compositions consisting mainly of thin freely applied brushstrokes. Having a strong-willed character and a desire to develop her creativity beyond the limitations of classical calligraphy and its restrains, Shinoda decided to break away and begun to produce abstract works using traditional materials. This development received severe criticism from the established calligraphy circles of Japan, however her work was recognised by major international art institutions and she was included in two exhibitions at the Museum of Modern Art, New York in 1953 and 1954 respectively.

In 1956 Shinoda moved to New York where she would be free to further develop her artistic expression and mingle with people who believed in and supported her work such as the painter Franz Kline (1910-1962) and long-term dealer and friend Norman Tolman. At this time Abstract Expressionism was at the forefront of the American art scene giving the artist a rich source of inspiration and development possibilities.

Having established herself internationally Shinoda returned to Japan in 1958 with a renewed confidence enabling her to develop further and to begin using bolder and thicker brushstrokes alluding to the strength of Abstract Expressionism. In 1960 following the advice of fellow artist and printmaker Arthur Flory (1914-1972) Shinoda added another facet to her oeuvre and began to produce lithographs, a medium which she conquered with ease. Having reached a mature and distinctive style she continued to use traditional black and vermillion sumi (ink) in her paintings composed of thick and thin elegant brushstrokes often adorned with calligraphy on a surface of canvas, paper or silver leaf.

A true intellectual Shinoda developed her trademark tool; a long, thin brush. In this tailor-made brush, with a handle longer and slimmer than usual and with extra-long bristles, Shinoda found a tool which easily facilitates the circulation of energy between her hand and the painted surface. The longer brush enables more delicate uninterrupted movements which according to the artist make her feel like a white witch using her magic wand.

In 1962 she was commissioned to design the theatre curtain and ceramic relief for the foyer of Nichinan Cultural Centre at Miyazaki and later she created a mural for the Yoyogi National Stadium built for the 1964 Tokyo Olympics. In 1974 she completed another significant and innovative commission to paint the fusuma (sliding doors) of Zōzōji temple, Tokyo and in 1993 she gained a commission for the new Imperial Palace Residence, Tokyo.

Shinoda continues to work to this day and claims the varying juxtaposed brushstrokes represent the diversity of her character, expressing both her tender and dynamic elements. Still relevant today and open to personal interpretation her work is a lyrical inspiration to many giving it a wide global appeal.

Every morning, I pick up a brush and do some work, even just a little bit. Without it, I wouldn’t feel quite alive, or I wouldn’t feel like I should be living without doing some work. You could say it’s a sense of responsibility. It’s the proof that I am alive.